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prised by all the fuss. Before the visit by the Carl Nielsen Edition on Friday 6th Octo-

DESCRIPTION OF SOURCE

ber 2000 only two people had handled

Ms.-Lpz.

the manuscript since 1977: Knud Martner

Score, autograph, printing manuscript.

and a person unknown to the Carl Nielsen

D-LEsta [Sächsisches Staatsarchiv Leipzig],

Edition (this is evident from the list on

Musikverlag C.F. Kahnt, Leipzig No. 148.

which anyone using a manuscript in the

Cover, on the middle of the page a label

archives must write their name). The re-

pasted on with the wording: ‘Carl Nielsen:

discovered manuscript is so to speak ‘the

/ Symfoni / for / Orstester. / (Partitur.)’ (CN).

missing link’ in the source history of the

Top, faint addition in pencil: ‘Frits Gail-

Third Symphony. The typical source situa-

lard / Leon Meerloo / 71344’. Bottom cen-

tion for a major Carl Nielsen work is as fol-

tre, another label stamped with the word-

lows: sketches – pencil draft – ink fair copy

ing ‘Staatsarchiv Leipzig / Musikverlag /

(= printing manuscript) – first impression.

C.F. Kahnt Leipzig Nr. 148’. Bottom left:

And the manuscript in question is thus

‘C.F. Kahnt N [illegible] 2/6 13’.

the composer’s own ink fair copy – the

Inside cover: Additions in pencil (CN). Top

last handwritten version before printing.

left: ‘III / Fagotti Pag 17 Takt 2 / Tromboni

Besides the manuscript for Carl Niel-

Pag 34-35 og 89-90 / Corni Pag 5 og 82 med

sen’s Sinfonia espansiva, Sächsisches Staats-

1st Bassen [separator line] / Tutti Pag 85 /

archiv also has the torso of a four-handed

Tutti 53-55 / Bassen Pag 26’. Top right:

piano arrangement of the Third Symphony

‘Amsterdam / [illegible] / (Mendes)’. Centre

1 It was Knud Ketting who kindly drew the attention of The Carl Nielsen Edition to the possible presence of the manuscript in Leipzig. 2 On this subject, see CNU vol. II/3, page 189, description of Source D, as well as footnote 6.

230

CN Studies indmad vol II

230

11/07/05, 14:03

R E P O RT S

right: ‘Stuttgart / Fräulein Polach (Sopran)

in the pencil draft to the last adjustments

/ S. Bartenstein.’ Centre left: ‘Viol II No 5 /

in connection with the printing of the

mell 6 og 7’. Bottom centre: ‘Pag 158 Trb

score. It can now be documented, for ex-

II III og Corni’.

ample, that the four introductory bars to

Title on page of otherwise blank music

the final movement which are found in

paper (fol. 1r): ‘Symfoni. / for / Orkester. / af /

the pencil draft were at all events omit-

Carl Nielsen. / (Partitur)’

ted before the fair-copying. Similarly, a

Acquired by Sächsisches Staatsarchiv Leip-

cut of one bar in the first movement (be-

zig in 1977 as part of C.F. Kahnt publish-

tween b. 463 and b. 464) was made in this

ing archives.

phase. However, it is equally interesting

35.5x27.2 cm, 227 numbered pages written

that Carl Nielsen, in several not unim-

in ink. A blank page at the end after page

portant respects, only arrived at the final

227. Grey, much worn cardboard covers.

version after fair-copying the work – and

Music paper type: B. & H. Nr. 14 A. 7.09. (24

in the case of certain things possibly only

staves).

after the first performance.

The score has scattered corrections and ad-

It is already known that for the first

ditions in pencil. A few markings in blue

performance the work was entitled simply

and red crayon appear to have been added

Symfoni for orkester and was only later

in connection with performances. The

given the title Sinfonia espansiva after the

score was used for the first performances

tempo marking in the first movement.

before being used later as the printing

The fair copy further confirms that this

manuscript. Title at top of page 1: ‘Sinfonia

movement originally just had the tempo

espansiva’, added in an unknown hand.

marking Allegro, and only after it was first

As will be evident from the following

written out had the espansivo added.

overview, the printing manuscript in sev-

Among other late changes in the fair

eral cases confirms the editorial work

copy attention should be drawn here to

presented in Volume II/3 of the Carl Niel-

the passage bb. 159-165 in the first move-

sen Edition, and even if the editor had

ment, where a C in fg.1 has been changed

been aware of the manuscript in connec-

to a C , apparently because the composer

tion with the editorial work, it is unlikely

wanted a greater similarity to the corre-

that this would have led to other emenda-

sponding figure in cl.1, bb. 138-140. We

tions than those already made. On the

can further mention bb. 412-422, where

other hand, the source does shed some

tr.1 has been changed from an accompa-

light on interesting factors related to the

nying part to the melody part.

genesis of the work. It is thus now possible to specify in detail how the composer gave

note 2: g [probably a copying error] note 1: g'' [confirms the emendation in CNU (CN has forgotten to change the key signature from two to three sharps where ob.3 changes to cor.ingl. and in this sense the fair copy is formally correct)] note 6-7: f ' - e' [probably a copying error] Husk Tæppe ‘Remember curtain’ added in brownish-red writing (CN) [the addition presumably refers to the performance at the Royal Theatre on 4th May 1912, when the orchestra was actually on the stage3 ]

tr.1

Carl Nielsen’s Letters The first volume of the collected, anno-

and third parties. Nielsen’s diaries are

tated edition of Carl Nielsen’s letters was

moreover inserted in the proper places

published in the summer of 2005. Vol-

in the chronological order.

ume 1 covers the period up to 1897. The

The edition is edited by John Fel-

material is in strict chronological order

low and is described in more detail in

and comprises letters from Nielsen sup-

Carl Nielsen Studies Volume 1 pp. 166-167.

plemented by a selection of letters to Nielsen as well as letters between second